The author pairs her own photographs of the sites with the paintings of Edward Hopper.

When Grace Hopper retired as a rear admiral from the U.S. Navy in 1986, she was the first woman restricted line officer to reach flag rank and, at the age of seventy-nine, the oldest serving officer in the Navy. A mathematician by training who became a computer scientist, the eccentric and outspoken Hopper helped propel the Navy into the computer age. She also was a superb publicist for the Navy, appearing frequently on radio and television and quoted regularly in newspapers and magazines. Yet in spite of all the attention she received, until now ""Amazing Grace,"" as she was called, has never been the subject of a full biography. Kathleen Broome Williams looks at Hopper's entire naval career, from the time she joined the WAVES and was sent in 1943 to work on the Mark I computer at Harvard, where she became one of the country's first computer programmers. Thanks to this early Navy introduction to computing, the author explains, Hopper had a distinguished civilian career in commercial computing after the war, gaining fame for her part in the creation of COBOL. The admiral's Navy days were far from over, however, and Williams tells how Hopper--already past retirement age--was recalled to active duty at the Pentagon in 1967 to standardize computer-programming languages for Navy computers. Her temporary appointment lasted for nineteen years while she standardized COBOL for the entire department of defense. Based on extensive interviews with colleagues and family and on archival material never before examined, this biography not only illuminates Hopper's pioneering accomplishments in a field that came to be dominated by men, but provides a fascinating overview of computing from its beginnings in World War II to the late 1980s.

New York Times Notable Book Los Angeles Times Book Prize Finalist Wall Street Journal—One of Five Best Artist Biographies Edward Hopper's canvasses are filled with stripped-down spaces and unrelenting light, evocative landscapes, and the lonely aspects of men and women seemingly isolated in their surroundings. What kind of man had this haunting vision, and what kind of life engendered this art? No one is better qualified to answer these questions than art historian Gail Levin, author and curator of the major studies and exhibitions of Hopper's work. In this intimate biography she reveals the true nature and personality of the man himself—and of the woman who shared his life, the artist Josephine Nivison.

This book, the companion volume to an exhibition at the National Gallery of Art, Washington, and the Seattle Art Museum, showcases the extraordinary collection of modern American masterworks assembled by Barney A. Ebsworth, a St. Louis businessman.The collection includes paintings, sculpture, and works on paper by artists such as Patrick Henry Bruce, Alexander Calder, Willem de Kooning, Marsden Hartley, David Hockney, Edward Hopper, Jasper Johns, Jackson Pollock, Charles Sheeler, and Wayne Thiebaud.With more than 135 illustrations and an illuminating essay by distinguished art historian Bruce Robertson, this book will be a revelation to anyone who loves 20th-century American art.

Before his rise to superstardom portraying Detective Steve McGarrett on the long-running police drama Hawaii Five-O, Jack Lord was already a dedicated and versatile actor on Broadway, in film and on television. His range of roles included a Virginia gentleman planter in Colonial Williamsburg (The Story of a Patriot), CIA agent Felix Leiter in the first James Bond movie (Dr. No) and the title character in the cult classic rodeo TV series Stoney Burke. Lord's career culminated in twelve seasons on Hawaii Five-O, where his creative control of the series left an indelible mark on every aspect of its production. This book, the first to draw on Lord's massive personal archive, gives a behind-the-scenes look into the life and work of a TV legend.

Edward doesn't like his friends' borrowing and not returning, but he misses their company when he cuts them off. Finally he hits upon the perfect solution.

Hollywood celebrities feared her. William Randolph Hearst adored her. Between 1915 and 1960, Louella Parsons was America's premier movie gossip columnist and in her heyday commanded a following of more than forty million readers. This first full-length biography of Parsons tells the story of her reign over Hollywood during the studio era, her lifelong alliance with her employer, William Randolph Hearst, and her complex and turbulent relationships with such noted stars, directors, and studio executives as Orson Welles, Joan Crawford, Louis B. Mayer, Ronald Reagan, and Frank Sinatra—as well as her rival columnists Hedda Hopper and Walter Winchell. Loved by fans for her "just folks," small-town image, Parsons became notorious within the film industry for her involvement in the suppression of the 1941 film Citizen Kane and her use of blackmail in the service of Hearst's political and personal agendas. As she traces Parsons's life and career, Samantha Barbas situates Parsons's experiences in the broader trajectory of Hollywood history, charting the rise of the star system and the complex interactions of publicity, journalism, and movie-making. Engagingly written and thoroughly researched, The First Lady of Hollywood is both an engrossing chronicle of one of the most powerful women in American journalism and film and a penetrating analysis of celebrity culture and Hollywood power politics.

Edward and Jo Hopper first discovered Vermont in 1927, making day trips from the Whitney Studio Club's summer retreat for New York artists in Charlestown, New Hampshire. In 1935 and 1936 the Hoppers again traveled to Vermont, this time from their summer home in Cape Cod, in Edward's continuing search for new places to paint. During these quests they identified the White River and what Edward considered to be Vermont's "finest" river valley, and they returned there for longer visits in 1937 and 1938, boarding at Robert and Irene Slater's Wagon Wheels farm in South Royalton. These "vacations" were a change from the usual tempo of their lives, a break from the studio-bound easels, canvas, and oils, and an opportunity to paint something different, to be in a new place and paint en plein air. Over the course of his Vermont sojourns, Edward Hopper produced some two dozen paintings, watercolors that are among the most distinctive of his regional works, strongly characterized by place. In this accessible volume, Bonnie Tocher Clause tells the story of the Hoppers' visits to Vermont, their stays on the Slater farm, and their introduction to farm life. She locates the sites shown in Hopper's Vermont paintings, identifies two watercolors not previously recognized as Vermont scenes, and traces the development of Hopper's singular interpretations of the Vermont landscape. In Edward Hopper in Vermont, Clause details the provenance of the Vermont paintings through the years, tracking the history of sales leading to the works' ultimate homes with private collectors and museums. Showcasing all the Vermont paintings in color, this volume will delight both fans of Hopper's work and those who are fascinated by the story of the creation, collection, and business of producing great art.

This book explores the universal human existential trauma of "original loss," a trauma the author describes as arising from our primal, human evolutionary loss of experiencing ourselves as innately belonging to, and instinctively at home within, the larger natural world. In this trauma arose our existential awareness of impermanence and mortality along with the need to mourn that loss in order to create a sense of belonging and identity. The book describes how the invention of art and group ritual became the collective ways we mourn our shared existential loss. It describes as well how it is the art within the psychoanalytic practice that enables both patient and analyst to grieve their individual versions of our shared original loss. Drawing on the work of Winnicott, Loewald and Ogden, as well as art theory and religion, this book offers a new perspective on the intersection of metaphorical artistic thinking and psychoanalysis. This book will appeal to psychoanalysts, psychotherapists, and scholars of poetic, visual and muscial metaphor, creativity, evolution and history of art.